full frame canon eos c700 ff camera report had whetted the appetites of filmmakers with their 5d ......

www.fdtimes.comJon Fauer ASC

Art, Technique and Technology in Motion Picture Production Worldwide

Full Frame Canon EOS C700 FF

March 28, 2018

Camera Report

2 Apr 2018 • Issue 87

Canon introduces a new Full Frame Cinema Camera.

This is Full Frame democratized, FF for all.

The Canon EOS C700 FF has a new 38.1 x 20.1 mm (43.1 mm Ø) Full Frame, 18.69 megapixel (5952 x 3140) sensor. Pixel size is 6.4 x 6.4 μm.

The EOS C700 FF is aspirational Full Frame at an affordable price. It will be especially attractive for independent features, commer-cials and many other productions.

EOS C700 FF records Full Frame RAW, ProRes and XF-AVC and comes with either Canon locking EF mount or PL.

The camera has 3 sensor modes: Full Frame, Super35 and Super16. Cropping is done in-camera. Rental houses with huge inventories of Super35 lenses will smile. Cinematographers with beloved Su-per16 lenses will rejoice. Dust off your venerable vintage Canon 8-64mm T2.4 and 11-165 T2.5 S16 zooms. Intercut all three for-mat sizes on the same production.

Besides an all-new Full Frame sensor block, the camera looks and acts like the C700 (Super35) camera that was introduced at IBC in September 2015.

This is the camera that Canon whispered in September 2015.

The words in the whisper room were, “The Canon EOS C700 camera has been designed from the outset with additional sen-sors in mind. This may include Full Frame and other formats. Fu-ture upgrades to larger sensors and other functions have been fac-tored into the camera design. The idea is to have one camera body that can be updated and expanded—without having to scrap the

existing housing, chassis and major assemblies.”

That is exactly what Canon has done with the C700 FF. In fact, users who already have a Super35 C700 can upgrade to the Full Frame version. The sensor block will be swapped at an authorized Canon service facility.

The new C700 FF is a Full Frame studio and shoulder-resting camera. For RAW 5.9K, 4K or 2K uncompressed files, a Codex CDX-36150 integrated recorder is attached to the rear of the cam-era. It uses industry-standard Codex Capture Drives in 1 or 2 TB capacities.

The C700 FF can also record ProRes and XF-AVC codecs internal-ly to CFast2.0 cards. Larry Thorpe, Canon Senior Fellow, explains, “To accomplish on-board image capture, the Canon C700 FF im-plements a unique ‘Over-Sampling 4K Processing’ algorithm that effectively mobilizes the significant resolution of the 5.9K sensor to produce outstanding image quality for 4K DCI/UHD and 2K/UHD recording.

“This process begins with a sophisticated deBayer algorithm to form three 18.7 Megapixel RGB frames from the 5.9K Bayer frame. That deBayer processing moves the first order sideband (from original image sensor sampling) to a higher frequency which in turn allows spectral space to implement pre-filtering prior to a subsequent downsampling to 4K / UHD RGB444 frames having enhanced MTF that results in super sharp images. This overall process also reduces aliasing and improves the subjective appear-ance of noise which in turn supports sharp and clean images at the higher ISO settings.”


3Apr 2018 • Issue 87

Canon Cinema EOS Evolution

Canon launched the first EOS C300 camera at Paramount in Hol-lywood on November 3, 2011.

Masaya Maeda was Senior Managing Director at the time and is now President and Chief Operating Officer of Canon Inc. In his introductory presentation, he drew the outline of a pyramid. Con-sumer, prosumer and DSLR cameras occupied the base. The C300 was shown in the middle.

The top of the pyramid, representing the top of digital motion pic-ture production, was empty. Asked when that apex would be filled, Mr. Maeda said modestly, “We are still learning. We’d like to begin a dialog with the community here in Hollywood to better under-stand the expectations of the industry and where we should go.”

That was the “beginning of a new relationship” for Canon in Hol-lywood that has grown substantially ever since. It was a remark-able success story. Cinema EOS cameras appeared on sets and locations worldwide. The look, low-light capabilities, medium-format shape, EF or PL mount, quality and usability was appeal-ing to cinematographers and rental houses.

Five months after the C300 was shown at NAB 2012, Canon intro-duced the 4K EOS C500. Another 5 months later, at IBC 2012 in Amsterdam, Canon showed the EOS C100 camera. Then, in April 2015 at NAB, Canon presented the C300 Mk II with internal 4K recording to CFast 2.0 cards and 15 stops of dynamic range.

As each new Cinema EOS model was introduced, whenever I saw Mr. Maeda, I would ask whether this latest camera was the top of the pyramid. He never seemed quite satisfied.

In November 2013, we met at Canon Headquarters in Tokyo. He said, “Well, of course it is our dream one day to actually be able to be the “A” camera, as you call it. But at the moment we are still newcomers when it comes to the cinema world. We believe there are still a lot of things that we need to learn and study first, and then we will be ready to take on that challenge for the high end.”

And later, during an interview in September 2015 at Canon Expo in New York’s Jacob Javits Convention Center, Mr. Maeda said, “Unfortunately, at this time, we have not come out with the top, high-end, most advanced camera that you have been hoping for. We are continuing to work on developing such a camera.”

He was also prescient in his assessment of Full Frame. Certainly Canon had whetted the appetites of filmmakers with their 5D Mark II that offered Full Frame 24x36 video in 2008. About Full Frame, Mr. Maeda said, ““It is a challenge how far we can go with dynamic range and sensitivity using current APS-C or Super 35 size sensors. A larger sensor size is actually more advantageous because a larger pixel pitch will be more sensitive. Larger pixel sizes are an advantage in low light. And we are not restricted to the Super 35 size by the silicon wafer itself.”

Last year, I talked with Hiroo Edakubo, Group Executive of Can-on’s Video Products Group and Hiroto Okawara, Senior General Manager of Canon’s R&D and Imaging Products Group.

Mr. Edakubo described the beginnings of the C700 design: “Around the year 2013, we seriously started to do the research mainly for the C700, based on comments from customers about our C100, C300, and C500 cameras.


4 Apr 2018 • Issue 87

1.896:1 (17:9) FF

38.1 mm (5952)

20.1 mm(3140)

1.896:1 (17:9) S35

26.2 mm (4096)

13.8 mm (2160)

43.1 mm diagonal

Super16

13.1 mm (2048)

6.9 mm(1080)

Full Frame = 38.1 x 20.1 mm43.1 mm Ø

S35 = 26.2 x 13.8 mm29.61 mm Ø

S16 = 13.1 x 6.9 mm14.81 mm Ø

Recording Formats: Relative Sizes

Sensor Modes

5.9K 17:9 (1.89:1 Full Frame)

4K 17:9UHD 16:9 (1.7:1)

5.9K 2.35:1 or 2.39:1 (Spherical Widescreen)

2K 17:9FHD 16:9 (1.7:1)

Full Frame Canon C700 FF, cont’dThe Canon EOS C700 FF has a Full Frame 20.8 Megapixel CMOS sensor. The maximum effective image area is 38.1 x 20.1 mm (41 mm diagonal), 18.69 megapixels, 5952 x 3140, which is a 1.89:1 (17:9) aspect ratio.

In comparison, the original C700/C700 PL camera has a Super35 11.54 megapixel sensor. Its maximum effec-tive image area is 28.9 x 15.2 mm (32.6 mm diagonal), 8.85 megapixels, 4096 x 2160. Pixel pitch is the same on both cameras, at 6.4 microns.

The C700 FF has three sensor modes: Full Frame, Super35 and Super 16.

The C700 FF Sensor Mode setting es-tablishes the maximum recordable im-age area of the sensor for FF, S35 or S16 formats.

First, you choose Sensor Mode in the Menu and then pick the aspect ratio in the Resolution/Sampling Settings menu option.

C700 FF desqueezes anamorphic images and we'll get into aspect ratios, formats, FF anamorphic and S35 anamorphic framelines in a future edition.


Full Frame Canon C700 FF, cont’dMr. Edakubo continued, “These comments pushed us to think about developing the C700 we have today. The C700 was a cam-era that we nurtured and grew. We originally launched the C700 with a Rolling Shutter.

“Then we offered the Global shutter model. And now we are re-leasing the Full Frame model. So, customers can bring their cam-era to our service center to exchange the sensor as they like (for a modest charge).”

Mr. Okawara added, “The C700 was to be a high-end camera with all of the functions necessary to become an “A” camera. Then, we pushed the sensor specifications to satisfy the increased demand for now and in the future.”

So here we are. The Canon EOS C700 FF has ascended to the top of Mr. Maeda’s pyramid.

EOS C700 FF Overview

The C700 FF is modular like the C700. The rugged magnesium body is extremely light weight (approximately 8 lb). The styling is distinctly Canon. Rounded edges and semi-circular sides behind the lens mount follow the Canon design legacy. The C700 FF will be equally comfortable handheld, shoulder-resting, on a head, Steadicam, gimbal rig or rigged to a car mount.

Sensor Modes and Recording Formats

The C700 FF has 3 Sensor Modes and many Resolution/Aspect Ratio choices. The Sensor Mode setting establishes the maximum recordable image area of the sensor for FF, S35 or S16 formats.

First, choose the Sensor Mode in the Menu. Next, pick the aspect ratio in the Resolution/Sampling Settings menu option.

Lens Mounts

The Canon Cinema Lock EF mount is the same ruggedized ver-sion first seen on the C300 Mk II. Flange focal depth is the usu-al 44 mm. Inside diameter within the lens cavity is 54 mm. A breech lock ring secures the lens in place when you rotate the tabs counter-clockwise. Do not twist the lens itself as you would on a Canon DSLR. The EF mount has Canon’s familiar gold-plated lens data and power pins.

The PL mount has a flange depth of 52 mm. The inside diameter is the same as EF: 54 mm. The PL mount is fitted with Cooke /i lens metadata and power pins.

Codex Integrated Recorder

With a Codex CDX-36150 attached, the C700 FF will record un-compressed Full Frame 12-bit RAW up to 30 fps, 10-bit RAW up to 60 fps, and 2K ProRes up to 168 fps. The Codex CDX-36150 is the same model made for the C700. It attaches to the rear of the camera and records to a Codex Capture Drive 2.0 (1 TB or 2 TB capacity), the same familiar media used in Alexa and VariCam35.

Dynamic Range and EVF

The Canon C700 FF has 15 stops of dynamic range.

The sharp 1920x1080 OLED Viewfinder (EVF-V70) was intro-duced on the original C700. It has an HDR simulated picture with a “stretched” dynamic range for increased shadow detail and highlight retention. This is accomplished without the requisite in-crease in brightness of true HDR.

Anamorphic

C700 FF supports full height 18mm Super35 format anamorphic lenses. The C700 FF desqueezes the anamorphic image electroni-cally for 2.39:1 in the viewfinder and on connected monitors.

And, as some of the first crews shooting with the camera found out, some 2x anamorphic lenses actually cover the entire C700 Full Frame 20.1 mm picture height, 32.24 Ø. (Cooke Anamorphic /i lenses, for example, cover an image circle of 33.54mm Ø. So, the C700 FF can capture a 2x squeezed image onto a sensor area of 24.02 x 20.1mm. Of course, you could also fill the entire C700 FF 20.1 x 38.1 mm sensor area and shoot with Hawk65 1.3x Ana-morphics or Ultra Panavision 1.25x Anamorphics lenses.

Mounting

There are enough 3/8-16 and 1/4-20 threaded holes on the top and bottom to satisfy almost any mounting or rigging situation. The top handle attaches with four screws in many positions and balances extremely well. Focus tape hooks adorn both left and right sides. Clearly, the designers at Canon listened to the re-quests of camera crews.

The shoulder pad consists of two sections that adjust to fit the width of any camera operator’s shoulder. It has industry-standard Hirth tooth rosettes on each side and sockets with 15mm rods in front. The camera comes with a standard rear V-lock battery mount. An Anton Bauer Gold Mount adapter can also be used.

Focus

Dual Pixel CMOS AF and Focus Guide work with enabled EF lenses.

Since Full Frame lenses have a shallower depth of field than their Super35 counterparts (at the same distance and field of view), the Focus Guide is very helpful. Camera operators who work docu-mentary style, or without a Focus Puller, will enjoy the up and down arrows in the viewfinder. These electronic indicators clearly show the required direction of rotation of the lens for sharp focus on the subject. (down arrows mean focus closer, up arrows mean focus farther away). When focus is achieved, the arrows and focus guide turn green. For run-and-gun productions where autofocus is desired, Canon’s accurate Dual Pixel CMOS AF is an alternative mode that ensures continuous and precise focus.

The new Canon EOS C700 FF is a camera for all seasons, with lots of reasons to embrace Full Frame while still being backwardly compatible with S35 and S16. It is a rugged and expandable high-end camera system that promises to propel Full Frame even more rapidly into everyone’s vocabulary.

The EOS C700 FF will ship in July at a list price of $33,000.

6 Apr 2018 • Issue 87

Canon EOS C700 FF

Front Rear

Camera right profileCamera left profile

Top Bottom

Camera left with CN-E20mm T1.5 L F Camera right with CN-E20mm T1.5 L F


You can use Full Frame, Super35 and Super16 lenses on the C700 FF. There are 3 crop modes: FF, S35 and S16. The S16 im-age circle is around 14.5 mm Ø.

The PL Mount has Cooke /i lens metadata and power pins (in the usual 12 o’clock position). Lens data can be recorded and displayed on monitors, which is helpful for camera assistants to check depth of field and for script supervisors to note focal length, aperture and zoom settings. FFD=52mm. ID=54mm.

Canon C700 S35with Cinema Lock EF mount

Canon C700 comes with the choice of two mounts: EF or PL. The Cinema Lock EF is a more rugged version of the ones found on still cameras. It has a locking ring and supports bigger, heavier lenses. FFD=44 mm. ID=54 mm.

Canon C700 S35with PL mount

Canon C700 FFwith Cinema Lock EF mount

Comparing C700 FF with C700 S35

C700 FF Sensor38.1 x 20.1 mm43.1 mm Ø

C700 S35 Sensor28.9 x 15.2 mm32.6 mm Ø

The Canon C700 FF looks almost the same as the original C700 (Super35) models. The main difference, of course, is the sensor.

C700 FF active sensor area is approx. 18.69 megapixels (5952 x 3140) occupying an area of 38.1 x 20.1 mm (43.1 mm Ø).

C700 S35 active sensor area is approx. 8.85 megapixels (4096 x 2160) occupying an area of 28.9 x 15.2 mm (32.6 mm Ø).

8 Apr 2018 • Issue 87

ND FILTER selection controlled by + and - buttons:Clear, 2, 4, 6, 8, 10 stops (Clear, ND.6, 1.2, 1.8, 2.4, 3.0)

IRIS dial to set aperture on EF lenses lacking manual ring

REC Start/Stop

POWEROn/Off

MAIN DISPLAY with 6 control buttons

SELECT/SET menu dial and button

Codex CDX-36150 Integrated Recorder

MENU

Codex Recorder comes in 2 versions: with Gold Mount or V-Mount battery plate for onboard battery to power camera and recorder

OLED ViewfinderEVF-V70

Canon EOS C700 FF

Eyepiece Diopter

Select/Set Joystick

EVF Menu

Focus Tape Hook

POWEROn/Off


EXT. POWER +12VDC IN (4-pin XLR)

Two CFast Card Slots

REC Start/Stop

Remote Operation Unit OU-700 attaches to the camera right side for redundant menu and Main Display control. It flips up for access to CFast and SD Card slots. The OU-700 detaches for remote control with 75 cm and 10 m cables.

24 VDC 2A Accessory Connector

12 VDC 2A Accessory Connector

EVF Magnification

Canon EOS C700 FF

Canon EF Mount Metadata Contacts

Canon Cinema Lock EF Mount:Rotate Counter-Clockwise to Lock

OU-700 Panel flips up for access to CFast Card slots and SD Card slot

SD Card Slot

10 Apr 2018 • Issue 87

Mic IN

Video OUT = EVF

24V DC 2A 3-pin OUT

12V DC 2A 2-pin OUT

Remote Control Connector

12-pin Lens Connector

Front

Canon EOS C700 FF Connections

12V DC IN 4-pin XLR

3G-SDI OUT × 4

Ethernet

Headphone OUT

Audio IN XLR x 2 includes AES/EBU

Monitor OUT × 2

Genlock/Sync

Timecode IN/OUT

HDMI OUT

Rear

V-Mount

D-Tap 12 V DC50 W Out

C700 FF Over Sampling

Diagram courtesy of Canon.

11Apr 2018 • Issue 87

24V DC 2A 3-pin OUT

Remote Control Connector

12-pin Lens Connector

Canon EOS C700 FF Specs

32 Models EOS C700 FF / EOS C700 FF PL

Sensor CMOS sensor with 6.4 x 6.4 micron photosites

Sensor Modes Full Frame / Super 35 (Crop) / Super 16 (Crop)

Total pixels Approx. 20.8 Megapixels (6062 x 3432)

Effective pixels Approx. 18.69 megapixels (5952 x 3140) for 5.9K RAW (Capture Drive mode), 4K or 2K (DCI) Approx. 17.52 megapixels (5580 x 3140) for UHD 3840 x 2160 or 1920 x 1080 Full HD

Effective Image area 38.1 x 20.1 mm (43.1 mm diagonal) Note: EOS C700/C700 PL was 28.9 x 15.2 mm (32.6 mm diagonal) in RAW (Capture Drive mode)

Lens mounts EF (cinema lock type) or PL Mount

ISO 160 - 25,600 (and 100 - 102,400 with expanded sensitivity)

Size Approx. 6.6 × 6.1× 12.9 in (167 × 154 × 327 mm)

Weight with EF Mount, approx 7.6 lb (3.4 kg). with PL Mount, approx 8 lb (3.6 kg)

Internal ND filters - 5 densities Clear, 2, 4, 6, 8 10 stops with motorized push-button selector (ND.0, ND.6, ND1.2, ND1.8, ND2.4, ND3.0

Viewfinder OLED Electronic View Finder EVF-V70, sold separately

Menu display 3.0-inch (7.66cm on the diagonal) color liquid crystal, approx 1.036 million dots.

Recording media CFast cards (2 slots) for XF-AVC and ProResSD card for XF-AVC proxies and JPEG photosCodex Capture Drive 2.0 for RAW

Video formats XF-AVC/ MPEG-4 AVC/H.264ProRes Apple ProRes CodecRAW uncompressed with Codex CDX-36150 Recorder

Audio recording Linear PCM (24 bit- 48kHz) 4-channel

XF-AVConto internal CFast Cards

XF-AVC 4096x2160 / 3840x2160 422 10-bit to 60 fpsXF-AVC 2048x1080 / 1920x1080 422 10-bit to 60 fpsXF-AVC 2048x1080 / 1920x1080 444 10-bit and 12-bit to 60 fps

ProRes onto internal CFast Cards

ProRes 422 HQ 4096x2160 / 3840x2160 10-bit to 30 fpsProRes 422 HQ 2048x1080 / 1920x1080 10-bit to 60 fpsProRes 4444 2048x1080 / 1920x1080 12-bit to 60 fps

RAW and ProResonto Codex Capture Drivewith Codex Integrated Recorder (CDX-36150)

5.9K RAW Full Frame 5952x3140 to 60 fps 5.9K RAW Spherical Widescreen 5952x2532 to 60 fpsProRes 422 HQ 4096x2160 / 3840x2160 10-bit to 60 fpsProRes 422 and ProRes 422 HQ 2048x1080 / 1920x1080 10-bit to 168 fpsProRes 444 and ProRes 4444 XQ 2048x1080 / 1920x1080 12-bit to 60 fps

Gamma modes Canon Log 3 / Canon Log 2 / Canon Log / Wide DR / etc

Color space Cinema Gamut / BT.2020 / DCI-P3 / BT.709

LUTs BT.709 / BT.2020 / DCI / ACESproxy / HDR-ST2084 / and others

Slow & Fast Recording Slow motion up to 168 fps

White Balance AWB, 2,000K-15,000K, -20CC to +20CC, Daylight, Tungsten, Presets A and B

Time Code Drop frame in 59.94 Hz mode, non-drop frame, rec run, free run, regen

Rear Connectors—Input Timecode In/Out, Genlock/SYNC OUT, REMOTE (A/B), MIC, 2x XLR Audio

Rear Connectors—Output 2x MON, 4x SDI-OUT, HDMI OUT, headphones, Genlock/SYNC OUT, TIME CODE input/output, VIDEO

DC Power In 12V DC XLR 4-pin on camera body / 24V DC (10-34V) via Fisher 2-pin on Codex CDX-36150 Recorder

Accessory Power DC 24V 2A DC 12V 2A D-Tap Connector

Accessories OLED Electronic View Finder EVF-V70, Remote Operation Unit OU-700, Shoulder Support Unit SU-15, Shoulder Style Grip Unit SG-1, Remote Operation Unit Cable UC-V75, Remote Operation Unit Cable UC-V1000, B4 mount adapter MO-4E / MO-4P Remote Controller RC-V100, Wireless Transmitter WFT-E6, GPS Receiver GP-E1, Unit Cable UN-5/UN-10, Codex CDX-36150 (Codex Recorder for Canon C700), Codex Capture Drive 2.0 Media

Contact Canon usa.canon.com/provideo

These are not final specifications and are subject to change, or worse, FDT Typos.

12 Apr 2018 • Issue 87

When a B4 adapter is attached, only XF-AVC/Crop/FHD/Interlace (60i/50i)/YCC422/LongGOP/10 bit recording is supported.

Canon EOS C700 FF Recording Formats

Format Recording Media Sensor Mode Resolution Signal Type Bit Depth Maximum

Frame Rate

Cinema RAW

Codex Recorder CDX-36150

Full Frame 5.9K Full Frame

RGB Bayer RAW

--- 60 fps

5.9K 2.35:1 Spherical Widescreen

--- 60 fps

Super35mm (Crop)

4K--- 75 fps

Super16mm (Crop)

2K --- 168 fps

ProRes

CFast

Full Frame Su-per35mm (Crop)

4K / UHD ProRes 422 HQ 10 bit 30 fps

2K / FHD ProRes 422 HQ 10 bit 60 fps

ProRes 4444 12 bit 60 fps

Super16mm (Crop)



Codex Recorder CDX-36150

Full Frame



ProRes 4444 XQ 12 bit 60 fps


Super35mm (Crop)



ProRes 4444 XQ 12 bit 60 fps


Super16mm (Crop)



XF-AVC CFast

Full Frame

4K / UHD YCC422 Intra 10 bit 60 fps

2K / FHD YCC422 Intra 10 bit 60 fps

YCC422 LongGOP 10 bit 30 fps

RGB444 Intra12 bit 60 fps

10 bit 60 fps

Super35mm (Crop)

4K / UHD YCC422 Intra 10 bit 60 fps



RGB444 Intra12 bit 60 fps

10 bit 60 fps

FHD Interlace YCC422 LongGOP 10 bit 60i / 50i

Super16mm (Crop)



FHD Interlace YCC422 LongGOP 10 bit 60i / 50i

13Apr 2018 • Issue 87

Focal Length (mm) 14 20 24 35 50 85 135

Widest Aperture T3.1 T1.5 T1.5 T1.5 T1.3 T1.3 T2.2

MOD 8”0.2m

12”0.3 m

12”0.3 m

12” 0.3 m

18” 0.45 m

37” 0.95 m

39” 1.0 m

Front Diameter 114 mm 114 mm 114 mm 114 mm 114 mm 114 mm 114 mm

Front Filter Thread none 105 mm 105 mm 105 mm 105 mm 105 mm 105 mm

Image Circle 43 mm 43 mm 43 mm 43 mm 43 mm 43 mm 43 mm

Mount EF EF EF EF EF EF EF

Weight 1.2 kg 2.65 lb

1.2 kg2.65 lb

1.2 kg2.65 lb

1.1 kg 2.43 lb

1.1 kg2.42 lb

1.3 kg2.87 lb

1.4 kg 3.09 lb

Length 94 mm3.7”

101.5 mm4 in

101.5 mm4 in

101.5 mm 4 in

101.5 mm4 in

101.5 mm4 in

115.6 mm6.6 in

Canon EF Cinema Primes (CN-E Series)

Canon CN-E20mm T1.5 L F Full Frame Prime

In addition to announcing the new C700 FF Camera, Canon is also releasing a new prime in their ever-growing family of Cinema EOS Full Frame lenses. The new Canon CN-E20mm T1.5 L F (L Series, F as in Full Frame Prime Lenses) is the 7th prime in the set.

Contacts in the lens connect with pins in the Canon EF mount (on Cinema EOS cameras) to supply metadata that is visible in the finder and on monitors with information about focus and aperture. This lens data also works with focus assist in the C700 FF with arrows as guides in the viewfinder.

14 Apr 2018 • Issue 87

Nancy Schreiber, ASC at camera in foreground. Director Nigel Dick in the back with baseball hat sitting on dolly next to Dave Chameides, Camera Operator.

Nancy Schreiber, ASC on C700 FF

Nancy Schreiber, ASC shot with three C700 FF pre-production cameras in the beginning of March. Two had PL mounts and one came with EF.

Nigel Dick was the writer/director. Focus pullers were Gunnar Mortensen and Greg Benitez. Gunnar probably has logged more hours on the C700 S35 camera than most mortals. Camera/Stea-dicam Operators were Dave Chameides (boxing scenes) and Ric Griffith (motorcycle scenes). Scott Ray was Gaffer, Lauren Guit-eras was Electrician. Sean Crowell was Key Grip and Nina Ham was Grip. Steve Tobenkin produced.

The story is an “anything you can do I can do better” joyride. Two boxers are warming up in a smoke-filled, beams of light interior. We see one from the back. She turns. The other boxer, a man, is talking to a trainer. There’s tension between them. They look at each other. She hits a bag. He spars with the trainer. The workout over, they jump onto motorcycles. An acrobatic bike ballet be-gins. We end at dusk in the City of Angels as they stand together contemplating the skyline.

Nancy described the C700 FF: “It is ergonomic, lightweight, has a bright EVF and is fast and easy to convert from Studio to Steadicam. I was pleasantly surprised by its size, maneuverability and intuitive menus.

“Full Frame sensors are a growing trend and seem to be here to stay. The price point is right and I feel that it is the best Canon cinema camera to date. I was fortunate to have two top-notch focus pullers working with us. The focus was always spot on, which was no easy feat, as we were shooting without rehearsals, with a full frame sen-sor combined with anamorphic lenses, usually wide open.”

15Apr 2018 • Issue 87

Nancy Schreiber said, “I rated the camera at 800 ISO, and under-exposed ½ stop. The 2K Xenons were reading 6 stops over and highlights held impressively. Night exteriors were rated at 3200

ISO, without noise. We used a variety of lenses: Leica Thalias, Zeiss CZ.2, Hawk Anamorphics and Angenieux anamorphic zooms and the new Canon CN-E20mm T1.5.

Nancy Schreiber, ASC on C700 FF

16 Apr 2018 • Issue 87

Gunnar Mortensen, who uses the tag line “sharp wit and sharper focus,” said, “The C700 FF is intuitive, ergonomic, modular and well-balanced. The image is filmic. I liked the low light sensitivity

and internal ND filters. Going forward, cameras can either have pixels that are smaller or chips that are larger. Full Frame gives us an immersive field of view and a pleasing depth of field.”

Nancy Schreiber, ASC at camera.At rear left rear: Gunnar Mortensen, “A” Camera 1st AC an Focus Puller.

Canon C700 FF

17Apr 2018 • Issue 87

Canon C700 FF

For more information:

usa.canon.com/provideo

Special Report

© 2018 Film and Digital Times, Inc. by Jon Fauer

www.fdtimes.com

full frame canon eos c700 ff camera report had whetted the appetites of filmmakers with their 5d ......

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